Abstract
It is widely accepted that over the years, noh has maintained its artistic autonomy. In this vein, scholars tend to focus on themes that are intimately connected with noh itself. Researchers of “sekkyobushi [sermon ballads]”, one of the most popular oral narrative forms in medieval and early modern times, are aware of the correlation between “sekkyobushi” and noh. By contrast scholars of noh give much less consideration to this interconnectedness. Zeami, among others, greatly contributed to the artistic refinement and philosophical sophistication of noh drama. As such, Zeami’s depiction of the fundamentals of humanity often echoes themes, motifs, and symbols of various traditional oral narratives, “sekkyobushi” in particular. In order to examine the interpenetration of noh and folk legend, the noh plays, (1-a) Yoroboshi and (2-a) Semimaru, both of which depict young, ill-fated exiles, are juxtaposed with (1-b) the “sekkyobushi” tale of Shintokumaru who is doomed for life, and (2-b) tragic narratives of the blue-blooded boy, Semimaru. Having won acclaim as a form of high art, noh mirrors ancient vernacular tales and legends shared by its late medieval audiences who were contemporaries of Zeami and his major descendants. Not only that, but audiences also helped creatively develop noh because their subconscious memories of indigenous stories enabled them to appreciate it. Thus, noh successfully maintained artistic autonomy because of its continued connectedness with a variety of folk narrative traditions. The audience’s contribution to this autonomy remains alive today, though perhaps inconspicuously.
Presenters
Yukihide EndoRetired Teacher, English, Hamamatsu University School of Medicine, Shizuoka, Japan
Details
Presentation Type
Theme
KEYWORDS
Noh, Traditional oral narratives, Autonomy, Hybridity, Interconnectedness
